Dear Friend,
CLAIM YOUR FORTUNE!
I wish to approach you with a request that would be of immense benefit to both of us. I am a moviegoer based in Cambridge, United States. I want you and I to make some fortune out of a situation that I am obviously left with no other better option. The issue that I am presenting to you is a case of the favorite cinematic venue, THE BRATTLE THEATER, needing to continue its operations. It is the situation that the theater is independently owned and run (one of the final in the region known as the Harvard Square) and relies on the support of patrons and community. This requires actively raising monies and seeking donations to fund its mission of repertory programming and films preservation. As a patron recruited to aid in this endeavor via movie-watching marathon, or watch-a-thon, I am now faced with a problem of getting a trusted person who I will make the beneficiary that I would share this fortune of movies with. And, as well as being of great service to the cause of the cinematic and popcorn arts, according to the law such contribution to this fortune is supposed to be bequeathed to be of deductible benefit to that person in regards to government taxes.
As I am not very sure of getting your consent yet on the issue, I would employ methods of persuasion, referring you to expositions on the importance of the theater and perhaps escorting you to a screening of film at THE BRATTLE THEATER itself, at an occasion of mutual convenience.
For explanation, examine the verbiage selected by the Brattle Film Foundation, and that chosen by my own self.
At this point I want to assure you that your true consent, full cooperation and confidentiality are all that are required to enable us to take full advantage of this golden opportunity. You may process the required transaction, either in the form of a pledge of support per movie observed (simply a few $US per film), or a single donation amount, in complete security, at the following internetwork location...
MY FIRSTGIVING.COM DONATION PAGE
I will appreciate your urgent response in this regard. The window of this opportunity shall close at the end of the day of the third of December. Thanks for your anticipated cooperation. You can as well reach me on [the email].
Yours faithfully
p.s. If you would like to share this fortune with others, the receipt of this message authorizes yourself to extend the invitation to them as I've made it to you, with the requirement of featuring the same details and interlinked resources.
Monday, November 30, 2009
CYBORG SHE
site | trailer | New Japanese Cinema @MFA
Thumbs sidewise for several great ideas that, unfortunately, weren't properly mixed and stitched together, resulting in a clunky and meandering narrative that's not satisfying in any of the genres it attempts to straddle.
This is a goofy scifi/fanboy fantasy romantic comedy from Japan, an answer to that question that's been nagging you for decades: what if the Terminator in JUDGEMENT DAY was a hot chick who became John Connor's girlfriend? AN answer, not necessarily a good or correct answer. SHE's about the relationship a 20-something university student develops with a cyborg girl that his future self builds and sends back in time to protect him. It seems to subscribe to a BACK TO THE FUTURE treatment of time travel, which allows time jumpers to change the history that created them. Unfortunately, the film doesn't do anything particularly cool with this. It DOES play with more time than you'd expect, showing you how the cyborg uses her abilities to become a force for good in the past, and apparently survives to become repaired or rebuilt as herself six decades later, and even remains intact another few decades to inspire another time traveler.
Overall, the movie delivers some consistent calculated romantic comedy smarminess and laughs, but not enough to make up for the lagging and poorly connecting story. There are maybe two "magic" time traveler moments, but they would benefit seriously from stronger writing and better editing. The story unfolds as if it was written as the movie was being put together, from start to finish, with each new scene or chapter added on to the previous one with not quite enough thought put into how it ought to set up for the next. In the end, whether it tries to or not, it ends up being a little MY SUPER EX GIRLFRIEND and a little AI with a pinch of WEIRD SCIENCE.
The visual effects are very good (there's a massive disaster scene that totally surprised me), altho the cyborg v. humans fight/smack scenes should have been way better choreographed.
*SPOILER* The "magic" trick ending should have been much better and cleverer. It reminded me of the really magickal pro/epilogue of PARASITE EVE, at least it reminds me of how I remember it. In EVE, the evil intelligence claims to know all about the life of its host, and attempts to prove it by sharing intimate information that only she and her boyfriend would know. However, the boyfriend actually turns out to know more about his relationship with the possessed girl than the evil does, which tips the scale of things. In CYBORG, the cyborg visits her creator in his youth on two different occasions, once on his birthday in 2007, and then on his birthday in 2008. What I believed/wanted the explanation to be was that the earlier visit was made by a later/older cyborg, and the second visit was made by the newborn cyborg. The cyborg's claim regarding her year of origin is a clue to this. However, the film actually has the first visitor be a future human, not a cyborg at all, while the second visitor is the actual cyborg. Granted, this is basically a completely unpredictable ending, which might count for some points on some moviegoers' scorecards, but in my opinion it's a very unsatisfying, just for the helluvit, ending. This is the part that most feels like a rip-off of A.I., even though it sort of turns the Pinnochio story into a time traveling bit of sleight-of-hand.
*SPOILER* The other "magic" bit is when cyborg takes her young creator to revisit his home town one last time. He explains that the town that he knew as a child was destroyed in a flood and that the present day town is completely different. She urges them to go anyway. When they arrive, she transports them back in time to his childhood. He finds himself and spies on him depositing some little boy treasures in a secret hiding place. This sequence is sweet, but it doesn't contribute to any other part of the story. There's a LOT of potential in this visit, but it's another lost opportunity.
Keep on keepin on~
Thumbs sidewise for several great ideas that, unfortunately, weren't properly mixed and stitched together, resulting in a clunky and meandering narrative that's not satisfying in any of the genres it attempts to straddle.
This is a goofy scifi/fanboy fantasy romantic comedy from Japan, an answer to that question that's been nagging you for decades: what if the Terminator in JUDGEMENT DAY was a hot chick who became John Connor's girlfriend? AN answer, not necessarily a good or correct answer. SHE's about the relationship a 20-something university student develops with a cyborg girl that his future self builds and sends back in time to protect him. It seems to subscribe to a BACK TO THE FUTURE treatment of time travel, which allows time jumpers to change the history that created them. Unfortunately, the film doesn't do anything particularly cool with this. It DOES play with more time than you'd expect, showing you how the cyborg uses her abilities to become a force for good in the past, and apparently survives to become repaired or rebuilt as herself six decades later, and even remains intact another few decades to inspire another time traveler.
Overall, the movie delivers some consistent calculated romantic comedy smarminess and laughs, but not enough to make up for the lagging and poorly connecting story. There are maybe two "magic" time traveler moments, but they would benefit seriously from stronger writing and better editing. The story unfolds as if it was written as the movie was being put together, from start to finish, with each new scene or chapter added on to the previous one with not quite enough thought put into how it ought to set up for the next. In the end, whether it tries to or not, it ends up being a little MY SUPER EX GIRLFRIEND and a little AI with a pinch of WEIRD SCIENCE.
The visual effects are very good (there's a massive disaster scene that totally surprised me), altho the cyborg v. humans fight/smack scenes should have been way better choreographed.
*SPOILER* The "magic" trick ending should have been much better and cleverer. It reminded me of the really magickal pro/epilogue of PARASITE EVE, at least it reminds me of how I remember it. In EVE, the evil intelligence claims to know all about the life of its host, and attempts to prove it by sharing intimate information that only she and her boyfriend would know. However, the boyfriend actually turns out to know more about his relationship with the possessed girl than the evil does, which tips the scale of things. In CYBORG, the cyborg visits her creator in his youth on two different occasions, once on his birthday in 2007, and then on his birthday in 2008. What I believed/wanted the explanation to be was that the earlier visit was made by a later/older cyborg, and the second visit was made by the newborn cyborg. The cyborg's claim regarding her year of origin is a clue to this. However, the film actually has the first visitor be a future human, not a cyborg at all, while the second visitor is the actual cyborg. Granted, this is basically a completely unpredictable ending, which might count for some points on some moviegoers' scorecards, but in my opinion it's a very unsatisfying, just for the helluvit, ending. This is the part that most feels like a rip-off of A.I., even though it sort of turns the Pinnochio story into a time traveling bit of sleight-of-hand.
*SPOILER* The other "magic" bit is when cyborg takes her young creator to revisit his home town one last time. He explains that the town that he knew as a child was destroyed in a flood and that the present day town is completely different. She urges them to go anyway. When they arrive, she transports them back in time to his childhood. He finds himself and spies on him depositing some little boy treasures in a secret hiding place. This sequence is sweet, but it doesn't contribute to any other part of the story. There's a LOT of potential in this visit, but it's another lost opportunity.
Keep on keepin on~
Friday, November 27, 2009
35 SHOTS OF RUM (35 RHUMS)
site | trailer
Thumbs sideways for being lovely, and full of footage of city railways, but incredibly standoffish with the audience (altho I personally find that an alluring hook).
What do I mean by standoffish? Well, the film seems built/intent on playing it coy as far as giving up its secrets, its story. Primary among those secrets, the history and relationships of the members of the unconventional family we are introduced to...
We meet a father, the driver of an urban commuter rail in Paris, and his daughter, a college student who shares a flat with him. They take sweet and thoughtful care of one another. In the opening of the film, we see that they've each bought a rice cooker for the kitchen. When they get home, the father is the first to unveil his present. In a kind of response, to let her father glow a little in her appreciation, the daughter hides her purchase away in her bedroom.
We meet their neighbor from the penthouse upstairs, a slick fellow who travels a lot for work, and seems to have some lusty designs on the lovely daughter. We meet another neighbor, an older woman, a cab driver, who has a very familiar and perhaps needy attitude in her relations with both father and daughter. The film follows these people's separate lives for a few days, with little actual interaction. These days lead up to a big night out, a concert outing arranged by the cab driver, something she wants them to do together the way they used to, "as a family." The night goes sideways, however, when their car breaks down in the pouring rain on the way to the concert. They take shelter along with a couple of other drenched passersby in a nearby cafe. When the music starts we learn just how things are (or seem to be?) as members of our little party pair off to dance.
There's not a lot of plot driving the film. It's much more about meeting these people and learning about them thru their interactions with one another. Kind of like RACHEL GETTING MARRIED with a smaller family and not quite as constrained in time.
My feeling is that what I see on screen is only a very small sliver of a much larger, complete film. That the filmmakers might have started with this complete film, and as if playing cinematic Jenga, removed piece after piece until what remained could barely, artfully efficiently, stand on its own. And in those vital remaining pieces, there are some lovely cinematic moments, intimate. The dancing in the cafe is almost embarassingly... close. You can feel the electricity between partners and the reactions of the onlookers. And there are the trains. If you just go with them, the view from and of the rails can be hypnotic, mesmerizing, and maybe get you thinking about life and lives as tracks, paths, junctions, choices, and consequences. Not a romp, not a thriller, not your typical fare. However, for me, perfect for a Sunday night flick (which is what it turned out to be =).
*SPOILER* The title of the film, 35 SHOTS OF RUM, is taken from a barroom story that the father and his friends mention. It's a celebration ritual, apparently, associated with an old story, or perhaps a feat or record. It comes up twice, actually, first when his friends consider it, in honor of a friend's retirement, and second when he himself completes the ritual, in honor of his daughter's wedding (apparently to sketchy-boy, which, given what we've seen of him, is difficult to approve of). However, apropos of this film, we never actually learn the story of or behind the 35 shots.
*SPOILER* In a sweet end cap to the film, after the daughter has gotten married and left her father's flat, we see the father unpack another rice cooker, presumably the daughter's, from that day long ago, and plant it on the kitchen counter next to his own. I got this scene for what it should be, what it's supposed to be, but continuity-wise, I'm not sure it's correct. I could swear that the cooker that the daughter buys in the opening of the film has an attached, hinged, lid, and that the one the father opens at the end of the film has a free lid, separate, with its own handle, like a garbage can lid. If you've seen this film, please let me know if you remember this being consistent or not. Thanks!
Keep on keepin on~
Thumbs sideways for being lovely, and full of footage of city railways, but incredibly standoffish with the audience (altho I personally find that an alluring hook).
What do I mean by standoffish? Well, the film seems built/intent on playing it coy as far as giving up its secrets, its story. Primary among those secrets, the history and relationships of the members of the unconventional family we are introduced to...
We meet a father, the driver of an urban commuter rail in Paris, and his daughter, a college student who shares a flat with him. They take sweet and thoughtful care of one another. In the opening of the film, we see that they've each bought a rice cooker for the kitchen. When they get home, the father is the first to unveil his present. In a kind of response, to let her father glow a little in her appreciation, the daughter hides her purchase away in her bedroom.
We meet their neighbor from the penthouse upstairs, a slick fellow who travels a lot for work, and seems to have some lusty designs on the lovely daughter. We meet another neighbor, an older woman, a cab driver, who has a very familiar and perhaps needy attitude in her relations with both father and daughter. The film follows these people's separate lives for a few days, with little actual interaction. These days lead up to a big night out, a concert outing arranged by the cab driver, something she wants them to do together the way they used to, "as a family." The night goes sideways, however, when their car breaks down in the pouring rain on the way to the concert. They take shelter along with a couple of other drenched passersby in a nearby cafe. When the music starts we learn just how things are (or seem to be?) as members of our little party pair off to dance.
There's not a lot of plot driving the film. It's much more about meeting these people and learning about them thru their interactions with one another. Kind of like RACHEL GETTING MARRIED with a smaller family and not quite as constrained in time.
My feeling is that what I see on screen is only a very small sliver of a much larger, complete film. That the filmmakers might have started with this complete film, and as if playing cinematic Jenga, removed piece after piece until what remained could barely, artfully efficiently, stand on its own. And in those vital remaining pieces, there are some lovely cinematic moments, intimate. The dancing in the cafe is almost embarassingly... close. You can feel the electricity between partners and the reactions of the onlookers. And there are the trains. If you just go with them, the view from and of the rails can be hypnotic, mesmerizing, and maybe get you thinking about life and lives as tracks, paths, junctions, choices, and consequences. Not a romp, not a thriller, not your typical fare. However, for me, perfect for a Sunday night flick (which is what it turned out to be =).
*SPOILER* The title of the film, 35 SHOTS OF RUM, is taken from a barroom story that the father and his friends mention. It's a celebration ritual, apparently, associated with an old story, or perhaps a feat or record. It comes up twice, actually, first when his friends consider it, in honor of a friend's retirement, and second when he himself completes the ritual, in honor of his daughter's wedding (apparently to sketchy-boy, which, given what we've seen of him, is difficult to approve of). However, apropos of this film, we never actually learn the story of or behind the 35 shots.
*SPOILER* In a sweet end cap to the film, after the daughter has gotten married and left her father's flat, we see the father unpack another rice cooker, presumably the daughter's, from that day long ago, and plant it on the kitchen counter next to his own. I got this scene for what it should be, what it's supposed to be, but continuity-wise, I'm not sure it's correct. I could swear that the cooker that the daughter buys in the opening of the film has an attached, hinged, lid, and that the one the father opens at the end of the film has a free lid, separate, with its own handle, like a garbage can lid. If you've seen this film, please let me know if you remember this being consistent or not. Thanks!
Keep on keepin on~
Thursday, November 26, 2009
AMELIA
site | trailer
Thumbs sideways for pretty much what you'd expect—a well-acted if clunkily edited educational film.
Not a lot to say about this. Entertaining, but not outstanding. A standard, by the book, broad strokes biopic of a historical figure/celebrity. Well-acted, well-shot, alternately clunkily and oversimply edited time-jumping storytelling. The most standout thing about it was the credit title "Commodification Montage Dancers."
Altho her character's accent take a little getting used to, Hilary Swank does that thing she does and disappears into her role. Maybe it's a case of my seeing too many films, but unfortunately, that role is almost a cliche. This will sound silly, but she does everything you'd expect Amelia Earhart to do, y'know? The one unexpected wrinkle is in her love life, but even that gets ironed out in the end.
This is dumb, and has nothing to do w the movie, but only while watching the film, and seeing/hearing people address Swank's Amelia, did I first connect her last name with her destiny. Earhart, spoken: air heart. Is it just me? Does everyone see that as a "gimme?"
*SPOILER* It IS educational. I didn't know much about Miss Earhart except the headlines, and bits of her story were interesting eye-openers. Expressions of her individualist and feminist streak were pretty cool, especially in her unofficial wedding vows, a letter she wrote to her fiance on the night before their wedding. Also didn't know that there was anyone with her when she disappeared. Never hear about HIM, eh? Nice to see Chris Eccleston on the big screen, tho.
Keep on keepin on~
Thumbs sideways for pretty much what you'd expect—a well-acted if clunkily edited educational film.
Not a lot to say about this. Entertaining, but not outstanding. A standard, by the book, broad strokes biopic of a historical figure/celebrity. Well-acted, well-shot, alternately clunkily and oversimply edited time-jumping storytelling. The most standout thing about it was the credit title "Commodification Montage Dancers."
Altho her character's accent take a little getting used to, Hilary Swank does that thing she does and disappears into her role. Maybe it's a case of my seeing too many films, but unfortunately, that role is almost a cliche. This will sound silly, but she does everything you'd expect Amelia Earhart to do, y'know? The one unexpected wrinkle is in her love life, but even that gets ironed out in the end.
This is dumb, and has nothing to do w the movie, but only while watching the film, and seeing/hearing people address Swank's Amelia, did I first connect her last name with her destiny. Earhart, spoken: air heart. Is it just me? Does everyone see that as a "gimme?"
*SPOILER* It IS educational. I didn't know much about Miss Earhart except the headlines, and bits of her story were interesting eye-openers. Expressions of her individualist and feminist streak were pretty cool, especially in her unofficial wedding vows, a letter she wrote to her fiance on the night before their wedding. Also didn't know that there was anyone with her when she disappeared. Never hear about HIM, eh? Nice to see Chris Eccleston on the big screen, tho.
Keep on keepin on~
PRECIOUS
PRECIOUS
site | trailer
Big thumbs-up for an amazing cast and a moving story in a film that wreaks havoc with your heart, sinking or shocking it one minute, and tugging at its strings the next.
I really don't know what to tell you. There's nothing I can write that could do this film justice. Have you seen the trailer? If not, watch it, and you will get a very fair taste of this amazing film. Claire Precious Jones is a 16 year-old girl attending junior high, pregnant with her second child, living with her unemployed mother in an arrangement that lets her mom live on welfare. Her home life, such as it is, is a relentless battle of attrition with her abusive mother. When she's kicked out of school and begins an "alternative" program with a dedicated teacher, she begins to see that her life can be different, changed for the better. As wretched and inspiring as the trailer paints the story of PRECIOUS, the film is even moreso.
Be warned, have some kleenex ready. If there was anything like a recipe to this story, it would have been to heap the worst possible thing you can think of upon this poor girl, then, one-up yourself. Exceeding amounts of mean, hate, wrong, and, frankly, evil, are launched at Precious. That she survives makes her the strongest character you've ever encountered.
An exceptional cast makes it all very real... inspiring in moments and in others, painful, heart-sinking, and horrible. I'm not familiar w the actors, but Precious, her teacher, Miss Rain, and her mother (played by Mo'nique) are flawless, and I hafta say, I never saw GLITTER or whatever that was, but Mariah Carey is a wonderful surprise. Precious's classmates are all excellent, too.
One slight criticism, which is kind of unfair given the scope of the story and the limitations of a feature film—some things seem to happen/unfold too quickly in the course of the film. Examples in the first spoilery paragraph below.
If you can appreciate stepping into someone else's shoes for two hours of serious drama and pain, relieved by hope, kindness, and courage, SEE THIS FILM.
*SPOILER* Precious is in her new program for just a couple days, maybe even only one, when she visits Mrs. Weiss, her family's case officer, to confirm their continued need and qualification for welfare. In this visit, after years of following her mom's script and keeping quiet about the abuse she suffers at home, Precious begins to reveal the awful truth, thus ending their welfare support. The breakthru moment in Miss Rain's class IS powerful, but it seems just a little too soon for her to open up to this woman like that. It IS a completely logical follow-thru, tho, so like I said, it may simply be the constraints of two hours of storytelling. Late in the film, once Precious has moved out and is living on her own, her mother arranges to have a session with their case worker and Precious. It's not clear how much time has passed, but it's only the second time that mom has seen Precious since she escaped her abuse. In this session, her mother breaks down and confesses how she did not stop her boyfriend, Precious's father, from abusing her when she was only three years old. Again, this scene is in the right place, but it just feels too soon. And again, I feel like it may not be fair to fault the film for it because it's a story-time vs. cinema-time discrepancy. I wonder if (creative) editing might fix this. It's not like the pace is relentless, it's just that there's SO MUCH WRONG and its revelation is just... too quick. Too much, too hard, too sharp...
But perhaps that's the intent. There's no denying the impact of these revelations and confessions. Vicious and powerful...
*SPOILER* Consuelo, one of the other students at Each One Teach One, seems to have a history with Miss Rain that's never fully explained. Or, it's clued, but I failed to pick it up. I was sure they must be related, and at first I thought she might have been Miss Rain's daughter, but that doesn't compute. Then, maybe her partner's. Nope. Maybe I just read more into their classroom interactions than there is? Let me know if you know or picked up on enough for a good case.
Thanks to Maggie for buddying up for this.
Keep on keepin on~
site | trailer
Big thumbs-up for an amazing cast and a moving story in a film that wreaks havoc with your heart, sinking or shocking it one minute, and tugging at its strings the next.
I really don't know what to tell you. There's nothing I can write that could do this film justice. Have you seen the trailer? If not, watch it, and you will get a very fair taste of this amazing film. Claire Precious Jones is a 16 year-old girl attending junior high, pregnant with her second child, living with her unemployed mother in an arrangement that lets her mom live on welfare. Her home life, such as it is, is a relentless battle of attrition with her abusive mother. When she's kicked out of school and begins an "alternative" program with a dedicated teacher, she begins to see that her life can be different, changed for the better. As wretched and inspiring as the trailer paints the story of PRECIOUS, the film is even moreso.
Be warned, have some kleenex ready. If there was anything like a recipe to this story, it would have been to heap the worst possible thing you can think of upon this poor girl, then, one-up yourself. Exceeding amounts of mean, hate, wrong, and, frankly, evil, are launched at Precious. That she survives makes her the strongest character you've ever encountered.
An exceptional cast makes it all very real... inspiring in moments and in others, painful, heart-sinking, and horrible. I'm not familiar w the actors, but Precious, her teacher, Miss Rain, and her mother (played by Mo'nique) are flawless, and I hafta say, I never saw GLITTER or whatever that was, but Mariah Carey is a wonderful surprise. Precious's classmates are all excellent, too.
One slight criticism, which is kind of unfair given the scope of the story and the limitations of a feature film—some things seem to happen/unfold too quickly in the course of the film. Examples in the first spoilery paragraph below.
If you can appreciate stepping into someone else's shoes for two hours of serious drama and pain, relieved by hope, kindness, and courage, SEE THIS FILM.
*SPOILER* Precious is in her new program for just a couple days, maybe even only one, when she visits Mrs. Weiss, her family's case officer, to confirm their continued need and qualification for welfare. In this visit, after years of following her mom's script and keeping quiet about the abuse she suffers at home, Precious begins to reveal the awful truth, thus ending their welfare support. The breakthru moment in Miss Rain's class IS powerful, but it seems just a little too soon for her to open up to this woman like that. It IS a completely logical follow-thru, tho, so like I said, it may simply be the constraints of two hours of storytelling. Late in the film, once Precious has moved out and is living on her own, her mother arranges to have a session with their case worker and Precious. It's not clear how much time has passed, but it's only the second time that mom has seen Precious since she escaped her abuse. In this session, her mother breaks down and confesses how she did not stop her boyfriend, Precious's father, from abusing her when she was only three years old. Again, this scene is in the right place, but it just feels too soon. And again, I feel like it may not be fair to fault the film for it because it's a story-time vs. cinema-time discrepancy. I wonder if (creative) editing might fix this. It's not like the pace is relentless, it's just that there's SO MUCH WRONG and its revelation is just... too quick. Too much, too hard, too sharp...
But perhaps that's the intent. There's no denying the impact of these revelations and confessions. Vicious and powerful...
*SPOILER* Consuelo, one of the other students at Each One Teach One, seems to have a history with Miss Rain that's never fully explained. Or, it's clued, but I failed to pick it up. I was sure they must be related, and at first I thought she might have been Miss Rain's daughter, but that doesn't compute. Then, maybe her partner's. Nope. Maybe I just read more into their classroom interactions than there is? Let me know if you know or picked up on enough for a good case.
Thanks to Maggie for buddying up for this.
Keep on keepin on~
Tuesday, November 24, 2009
BLACK DYNAMITE
BLACK DYNAMITE
site | trailer
HUGE thumbs-up for unbridled awesomeness! =)
There's not a lot to say besides AWESOME! This is a modern re-creation of a blaxploitation film, knowing, clever, and conscious of all the strengths and weaknesses of the original genre in its own time. However, spoof or parody does not fairly describe what this movie is. How to describe what it is/does...? It's part homage and part new territory and amplification.
Hrmmm... Perhaps an SAT analogy...
SHAUN OF THE DEAD : Zombie movies :: BLACK DYNAMITE : Blaxploitation
Does that help? =)
The main arc of the first half of DYNAMITE follows DOLEMITE pretty closely, with the only significant upgrades being in the action territory (Michael Jai White, aka SPAWN, kicks some serious kung fu backside), and intentional humor (gaffs and poor production that would've been incidental in the original genre films are scripted and intentionally recreated here).
The cast, characters, dialogue, and soundtrack are wonderful and hilarious. The in-close action is legit kung fu, which I really appreciate. And there are two a-MA-zing riffs on the action that kinda blew my mind.
*SPOILER* Those two moments. The first is when B.D., in a standoff against a baddie, is apparently hit by a bullet and falls to the ground. His opponent drops his guard for a second, allowing Dynamite to get the drop on him, revealing that he'd faked the bullet wound! Sounds dumb and dry, I know, but seeing it is frickin hilarious! The other is when B.D. goes up against his Chinese evil scientist drug lord nemesis, Dr. Wu. Wu's trademark weapon is a boomerang-like blade, which when launched from his hands can literally disarm or decapitate a foe with precision. Dynamite chases Wu to his lab, confronting him in an apparent standoff. That standoff is broken when one of Wu's boomerang blades breaks thru a window and embeds itself in Wu's body. B.D. rushes over to relieve the doctor of his prize (an antidote and/or some secret files and photos, I forget), and explains to him, "I threw that $hit before I even stepped in the room!" Frickin brilliant! =)
The Coolidge is advertising that the movie will play every weekend @midnite thru November and beyond! I'm gonna hold them to that, cuz I want to see this movie a again and again!
Thanks to Erin and Glen for staying up with me. =)
Keep on keepin on~
site | trailer
HUGE thumbs-up for unbridled awesomeness! =)
There's not a lot to say besides AWESOME! This is a modern re-creation of a blaxploitation film, knowing, clever, and conscious of all the strengths and weaknesses of the original genre in its own time. However, spoof or parody does not fairly describe what this movie is. How to describe what it is/does...? It's part homage and part new territory and amplification.
Hrmmm... Perhaps an SAT analogy...
SHAUN OF THE DEAD : Zombie movies :: BLACK DYNAMITE : Blaxploitation
Does that help? =)
The main arc of the first half of DYNAMITE follows DOLEMITE pretty closely, with the only significant upgrades being in the action territory (Michael Jai White, aka SPAWN, kicks some serious kung fu backside), and intentional humor (gaffs and poor production that would've been incidental in the original genre films are scripted and intentionally recreated here).
The cast, characters, dialogue, and soundtrack are wonderful and hilarious. The in-close action is legit kung fu, which I really appreciate. And there are two a-MA-zing riffs on the action that kinda blew my mind.
*SPOILER* Those two moments. The first is when B.D., in a standoff against a baddie, is apparently hit by a bullet and falls to the ground. His opponent drops his guard for a second, allowing Dynamite to get the drop on him, revealing that he'd faked the bullet wound! Sounds dumb and dry, I know, but seeing it is frickin hilarious! The other is when B.D. goes up against his Chinese evil scientist drug lord nemesis, Dr. Wu. Wu's trademark weapon is a boomerang-like blade, which when launched from his hands can literally disarm or decapitate a foe with precision. Dynamite chases Wu to his lab, confronting him in an apparent standoff. That standoff is broken when one of Wu's boomerang blades breaks thru a window and embeds itself in Wu's body. B.D. rushes over to relieve the doctor of his prize (an antidote and/or some secret files and photos, I forget), and explains to him, "I threw that $hit before I even stepped in the room!" Frickin brilliant! =)
The Coolidge is advertising that the movie will play every weekend @midnite thru November and beyond! I'm gonna hold them to that, cuz I want to see this movie a again and again!
Thanks to Erin and Glen for staying up with me. =)
Keep on keepin on~
Watch-A-Thon count updated...
Please support the Unofficial Film School of Boston, the Brattle Theater—Sponsor my 2009 Watch-A-Thon! Thanks!- 35 SHOTS OF RUM @Kendall Square
- AMERICAN CASINO @the Brattle
- AMELIA @Kendall Square
- BRIEF INTERVIEWS WITH HIDEOUS MEN @Kendall Square
- ANTICHRIST @Kendall Square
- WELCOME TO ACADEMIA @the Brattle
- COCO BEFORE CHANEL @Kendall Square
- THE BOX @Showcase Woburn
- GENTLEMEN BRONCOS @Kendall Square
- THE GOOD SOLDIER @the Brattle
- PICKPOCKET @the Brattle
- WILLIAM KUNSTLER: DISTURBING THE UNIVERSE @Kendall Square
- THE NEW YEAR PARADE @the Brattle
- UNTITLED @Kendall Square
- BOONDOCK SAINTS 2: ALL SAINTS DAY @Kendall Square
- RAIDERS OF THE LOST ARK @the Brattle
- THE MAID @Coolidge Corner
- BIG MAN JAPAN @MFA
- CRIME OR PUNISHMENT @MFA
- BLACK DYNAMITE @Coolidge Corner
- THE MESSENGER @Kendall Square
- BRONSON @Kendall Square
Keep on keepin on~
BRONSON
site | trailer
Thumbs-up for style (gritty in a slick, cool way), an irresistible lead, and a charismatic dangerous character.
"Based on a true story." That's what the trailer and the film tell us. My friend looked up some info about the film's premiere and told me that there was a bit of hubbub about how a pretty significant chapter of Bronson's life, as depicted in the film, never actually happened. I don't know what to think about that, but I'll say that I really enjoyed the film, more for its subject and style than anything you'd call a plot. If you appreciate CLOCKWORK ORANGE and cool cinematography and art design, you will dig this.
The lead, Tom Hardy, is amazing. Visually, his appearance as Bronson is at times cartoony, and at others, like sculpture, but always irresistible. The camera loves him, and almost treats him like a fetish. His performance, to my mind, perfect, larger-than-life.
The film introduces us to Bronson standing in a spotlight on stage in a posh theater addressing an audience ready for a night at the opera. From this stage, Bronson tells us the story of his life, and the film fades into and out of this arena between chapters.
I hafta say, there's a ghostly and dramatic quality to the dissolves in this film. Something I don't remember seeing, or at least noticing, in other films. If I ever get to watch this on DVD, I'll hafta remember to pay more attention.
He was born Michael Peterson, and took Charlie Bronson as his fighting name. He explains how he wasn't a bad boy, at least, not bad-bad. You might say he was a bit restless, and a lot prone to leading with his fists. When he steps into something like adulthood and tries his hand as responsible family provider, he takes a larcenous wrong turn into prison.
Behind bars, he seems to find a calling. Not a plan, mind you, but something that he revels in, and has opportunity to revel in—violence. The film follows his journey thru the British penal system, including an asylum for the criminally insane. Our host Bronson boasts about how his violent escapades cost the Crown so much that it chose to release him as "Sane" rather than continue to see to his care and feeding in rehabilitation and incarceration.
In at least two instances, people tell Bronson directly that he has no ambition. He has some potential, but any time he comes close to setting his foot on a path, even a sketchy one (bare-knuckles fighting), he shoots himself in that foot. He's most comfortable and at ease while in conflict, fighting, or waiting to fight, or healing from a fight. He doesn't have an agenda, a cause, or a plan. He doesn't really stand for anything. The warden dresses him down pretty good at one point, throwing "nihilistic" at him in his delivery.
I was hoping for A CLOCKWORK ORANGE, and the pieces, of plot and theme, are all there, but the story isn't quite up to it. Cinematic style goes a long way toward making up for that shortfall, tho.
*SPOILER* I won't give up any details of where the film and Bronson's story go, but I will mention a couple of things that go missing along the way. More for my own poor memory than anything else. I really wanted to see the drawing that Bronson gave to the warden. I also really wanted him to reconnect with or at least acknowledge his first wife and child. Oh, I'm also really curious about whether the filmmakers used Bronson's actual artwork on screen.
*SPOILER* A moment I'd like to remember later. After Bronson gives the warden his drawing (and the warden tells him he will look at it later), Bronson's art therapist rants about how the warden doesn't know how important their work is, and how Bronson is a star and they'll show everyone. Bronson takes issue with the therapist's use of "we," and a couple minutes later, Charlie takes him out. As the therapist falls, with Bronson's arms around his head, the film cuts to Bronson on stage, standing before the thunderous applause and approval of the fancy pants audience. This really struck me. This appreciation and approval by the tuxedo set for the destruction of this bleeding-heart-artist-therapist at the hands of his patient, the patient who stands before them as their entertainment. It's a bit chilling. Is the therapist the filmmaker? And are you the therapist or the audience?
Also, the musical selections are pretty awesome.
Thanks to Ann and Erin for spotting. =)
Keep on keepin on~
Thumbs-up for style (gritty in a slick, cool way), an irresistible lead, and a charismatic dangerous character.
"Based on a true story." That's what the trailer and the film tell us. My friend looked up some info about the film's premiere and told me that there was a bit of hubbub about how a pretty significant chapter of Bronson's life, as depicted in the film, never actually happened. I don't know what to think about that, but I'll say that I really enjoyed the film, more for its subject and style than anything you'd call a plot. If you appreciate CLOCKWORK ORANGE and cool cinematography and art design, you will dig this.
The lead, Tom Hardy, is amazing. Visually, his appearance as Bronson is at times cartoony, and at others, like sculpture, but always irresistible. The camera loves him, and almost treats him like a fetish. His performance, to my mind, perfect, larger-than-life.
The film introduces us to Bronson standing in a spotlight on stage in a posh theater addressing an audience ready for a night at the opera. From this stage, Bronson tells us the story of his life, and the film fades into and out of this arena between chapters.
I hafta say, there's a ghostly and dramatic quality to the dissolves in this film. Something I don't remember seeing, or at least noticing, in other films. If I ever get to watch this on DVD, I'll hafta remember to pay more attention.
He was born Michael Peterson, and took Charlie Bronson as his fighting name. He explains how he wasn't a bad boy, at least, not bad-bad. You might say he was a bit restless, and a lot prone to leading with his fists. When he steps into something like adulthood and tries his hand as responsible family provider, he takes a larcenous wrong turn into prison.
Behind bars, he seems to find a calling. Not a plan, mind you, but something that he revels in, and has opportunity to revel in—violence. The film follows his journey thru the British penal system, including an asylum for the criminally insane. Our host Bronson boasts about how his violent escapades cost the Crown so much that it chose to release him as "Sane" rather than continue to see to his care and feeding in rehabilitation and incarceration.
In at least two instances, people tell Bronson directly that he has no ambition. He has some potential, but any time he comes close to setting his foot on a path, even a sketchy one (bare-knuckles fighting), he shoots himself in that foot. He's most comfortable and at ease while in conflict, fighting, or waiting to fight, or healing from a fight. He doesn't have an agenda, a cause, or a plan. He doesn't really stand for anything. The warden dresses him down pretty good at one point, throwing "nihilistic" at him in his delivery.
I was hoping for A CLOCKWORK ORANGE, and the pieces, of plot and theme, are all there, but the story isn't quite up to it. Cinematic style goes a long way toward making up for that shortfall, tho.
*SPOILER* I won't give up any details of where the film and Bronson's story go, but I will mention a couple of things that go missing along the way. More for my own poor memory than anything else. I really wanted to see the drawing that Bronson gave to the warden. I also really wanted him to reconnect with or at least acknowledge his first wife and child. Oh, I'm also really curious about whether the filmmakers used Bronson's actual artwork on screen.
*SPOILER* A moment I'd like to remember later. After Bronson gives the warden his drawing (and the warden tells him he will look at it later), Bronson's art therapist rants about how the warden doesn't know how important their work is, and how Bronson is a star and they'll show everyone. Bronson takes issue with the therapist's use of "we," and a couple minutes later, Charlie takes him out. As the therapist falls, with Bronson's arms around his head, the film cuts to Bronson on stage, standing before the thunderous applause and approval of the fancy pants audience. This really struck me. This appreciation and approval by the tuxedo set for the destruction of this bleeding-heart-artist-therapist at the hands of his patient, the patient who stands before them as their entertainment. It's a bit chilling. Is the therapist the filmmaker? And are you the therapist or the audience?
Also, the musical selections are pretty awesome.
Thanks to Ann and Erin for spotting. =)
Keep on keepin on~
Wednesday, November 18, 2009
Monkey vs. Robot
Just cuz... =)
Actually, the song, and the graphic novel, both by James Kolchalka, came to mind while re-working the "LET HIM WIN" t-shirt design.
Keep on keepin on~
Actually, the song, and the graphic novel, both by James Kolchalka, came to mind while re-working the "LET HIM WIN" t-shirt design.
Keep on keepin on~
Wednesday, November 11, 2009
The 'Thon is ON like Donkey Kong!
The 2009 Brattle Theater Movie Watch-A-Thon kicked off last week, on November 3. I've been slackadazical in putting together and launching my GIVE ME YOUR MONEY shout out, but had no problem starting (OK, continuing) my maniacal movie watching.
Please check out my Watch-A-Thon firstgiving page for more info and to sponsor my Watch-A-Thon run.
So far I've seen...
35 SHOTS OF RUM @Kendall Square
AMERICAN CASINO @the Brattle
AMELIA @Kendall Square
BRIEF INTERVIEWS WITH HIDEOUS MEN @Kendall Square
ANTICHRIST @Kendall Square
WELCOME TO ACADEMIA @the Brattle
COCO BEFORE CHANEL @Kendall Square
THE BOX @Showcase Woburn
GENTLEMEN BRONCOS @Kendall Square
THE GOOD SOLDIER @the Brattle
I'm anticipating the second half of November getting pretty messy with work and the holidays, so I'm trying to front-load my run as much as possible. Note that for the purposes of the 'thon, Brattle screenings count as one "point" while screenings at other theaters count one-half.
So that means... *doing the math*... I've seen six and a half 'thon movies so far.
Man. It's a good thing I don't have a life.
I've meant to catch up on movie posts for a long time now, but just haven't motivated. Hopefully the 'thon will help with that. I'd like to do write-ups for all the movies I see, but I'd also like a million dollars. O well, we shall see...~
Keep on keepin on~
Tuesday, November 10, 2009
BLACK DYNAMITE @the Coolidge!
You can see it every weekend thru November (and beyond) at the Coolidge Corner Theater in Brookline!
Keep on keepin on~
Wednesday, November 04, 2009
Deal of the century on Brattle membership! =)
Wanted to alert you all about today's Groupon for Brattle Membership, which you can bust out for this week's most excellent and unusual Brattle big screen options! =)
First, the Groupon—$30 for a regular membership to the Brattle! Check out the details online at Groupon!
For more info, the Brattle membership page.
Now, some Good $hit playing at the theater this week...
AMERICAN CASINO. A documentary that investigates the stories and talks to the people behind the subprime mortgage crisis at many levels, from home buyers to Wall Street financiers. The feel-good hit of the season! And probably an interesting complement to Michael Moore's CAPITALISM, which I still haven't seen. Let me know if you're up for hitting either or both. CASINO begins a week-long tonight (Wednesday)!
The 50th anniversary of TWILIGHT ZONE! In honor of Rod Serling's mindbending TV show, the Brattle is programming four nights of classic episodes, presented on the big screen via digital projection. Donation admission is $7 for four episodes each evening. Check out the schedule for details. The series begins tonight (Wednesday)!
The 40th anniversary of MONTY PYTHON! To commemorate the frightful oldness of these comic geniuses, the Brattle is packaging up their films, along with episodes of FLYING CIRCUS, into an all-day Python-a-thon this Saturday! The films: WIND IN THE WILLOWS, AND NOW FOR SOMETHING COMPLETELY DIFFERENT, LIFE OF BRIAN, THE HOLY GRAIL, and MEANING OF LIFE. You can hit each film as a single feature or buy a $30 pass good for all screenings.
Keep on keepin on~
p.s. Beware, tis the season... I'll be hitting you up for totally tax-deductible Watch-A-Thon support soon... =)
First, the Groupon—$30 for a regular membership to the Brattle! Check out the details online at Groupon!
For more info, the Brattle membership page.
Now, some Good $hit playing at the theater this week...
AMERICAN CASINO. A documentary that investigates the stories and talks to the people behind the subprime mortgage crisis at many levels, from home buyers to Wall Street financiers. The feel-good hit of the season! And probably an interesting complement to Michael Moore's CAPITALISM, which I still haven't seen. Let me know if you're up for hitting either or both. CASINO begins a week-long tonight (Wednesday)!
The 50th anniversary of TWILIGHT ZONE! In honor of Rod Serling's mindbending TV show, the Brattle is programming four nights of classic episodes, presented on the big screen via digital projection. Donation admission is $7 for four episodes each evening. Check out the schedule for details. The series begins tonight (Wednesday)!
The 40th anniversary of MONTY PYTHON! To commemorate the frightful oldness of these comic geniuses, the Brattle is packaging up their films, along with episodes of FLYING CIRCUS, into an all-day Python-a-thon this Saturday! The films: WIND IN THE WILLOWS, AND NOW FOR SOMETHING COMPLETELY DIFFERENT, LIFE OF BRIAN, THE HOLY GRAIL, and MEANING OF LIFE. You can hit each film as a single feature or buy a $30 pass good for all screenings.
Keep on keepin on~
p.s. Beware, tis the season... I'll be hitting you up for totally tax-deductible Watch-A-Thon support soon... =)
Tuesday, November 03, 2009
running Watch-A-Thon count...
Please support the Unofficial Film School of Boston, the Brattle Theater—Sponsor my 2009 Watch-A-Thon! Thanks!Note that altho this post is dated 11/3, the starting line of the 'thon, I'll be updating it as I go along.
- 35 SHOTS OF RUM @Kendall Square
- AMERICAN CASINO @the Brattle
- AMELIA @Kendall Square
- BRIEF INTERVIEWS WITH HIDEOUS MEN @Kendall Square
- ANTICHRIST @Kendall Square
- WELCOME TO ACADEMIA @the Brattle
- COCO BEFORE CHANEL @Kendall Square
- THE BOX @Showcase Woburn
- GENTLEMEN BRONCOS @Kendall Square
- THE GOOD SOLDIER @the Brattle
- PICKPOCKET @the Brattle
- WILLIAM KUNSTLER: DISTURBING THE UNIVERSE @Kendall Square
- THE NEW YEAR PARADE @the Brattle
- UNTITLED @Kendall Square
- BOONDOCK SAINTS 2: ALL SAINTS DAY @Kendall Square
- RAIDERS OF THE LOST ARK @the Brattle
- THE MAID @Coolidge Corner
- BIG MAN JAPAN @MFA
- CRIME OR PUNISHMENT @MFA
- BLACK DYNAMITE @Coolidge Corner
- THE MESSENGER @Kendall Square
- BRONSON @Kendall Square
- PRECIOUS @Kendall Square
- BAD LIEUTENANT: PORT OF CALL NEW ORLEANS @Kendall Square
- CASABLANCA @the Brattle
- CYBORG SHE @MFA
- RED CLIFF @Kendall Square
- ARSENIC AND OLD LACE @The Brattle
- PIRATE RADIO @Somerville Theater
- THE ROAD @Kendall Square
- FANTASTIC MR. FOX @Kendall Square
Keep on keepin on~
2009 Watch-A-Thon!
Beginning this November 3, and running thru December 3, I will be participating in the Brattle Theater's Movie Watch-A-Thon fundraiser and hope that you will support me and help the Brattle Theater! For one month, I will watch as many movies as possible—at the Brattle and other venues—and seek sponsors to contribute to the Brattle Film Foundation per movie-I-see, or encourage one-time donations in support of my movie madness. I hope you'll help me in this effort to preserve the legacy of repertory film programming at Boston's Unofficial Film School, the non-profit Brattle Theater.
If you're not familiar with the Brattle (or even if you are), the theater is a unique, modest cinema located in Harvard Square. No teeth-shattering THX, no stadium seats, but behind the counter there's freshly popped popcorn, real melted butter, and, new this year, beer and wine! And up on the screen are the coolest, smartest, classiest, campiest, funniest, and scariest rectangles of light in Boston. On stage you'll meet directors, authors, actors, and musicians, including the likes of Bruce Campbell, Rob Moss, Edgar Wright, Simon Pegg, Nick Frost, Junot Diaz, Willem Dafoe, Kid Koala, and Juliana Hatfield. And, in the seats, you'll find people loving and digging them all.
Maybe even YOU!
Please contact me if you'd like to sponsor my Watch-A-Thon, and let me know how much you wish to pledge per movie (any amount, even just $1 per movie). Feel free to specify a cap (if you're familiar with my moviegoing habits, you'll understand why). Or if you like, make a one-time (not per-movie) flat donation now through this webpage by credit card. And of course, going to see a movie at the theater itself wouldn't hurt any. =)
It's where my mind was blown when I watched Chow Yun Fat step-and-slide his way down that tea-house stairway railing, two guns a-blazin', partnered with Tony Leung in John Woo's HARD-BOILED! The darkened theater where I first experienced movies like CITIZEN KANE, DONNIE DARKO, and FALLEN ANGELS... Where I can go to see "What's Opera, Doc?" on the big screen, and properly observe my holy days with screenings of EVIL DEAD 2 for Halloween, CASABLANCA for Thanksgiving, IT'S A WONDERFUL LIFE for Saturnalia, and BRIDE OF FRANKENSTEIN for Valentine's Day... and where I consistently go to see the best of film's past (BICYCLE THIEVES, LE SAMOURI), present (THE HOST, BRICK), and future (OLD BOY, MUTUAL ATTRACTION).
Thank you for any little something you can give to keep the Brattle's screen lit up, either as a donation or a pledge for my Watch-A-Thon. Please help the Brattle...
Keep on keepin on~
If you're not familiar with the Brattle (or even if you are), the theater is a unique, modest cinema located in Harvard Square. No teeth-shattering THX, no stadium seats, but behind the counter there's freshly popped popcorn, real melted butter, and, new this year, beer and wine! And up on the screen are the coolest, smartest, classiest, campiest, funniest, and scariest rectangles of light in Boston. On stage you'll meet directors, authors, actors, and musicians, including the likes of Bruce Campbell, Rob Moss, Edgar Wright, Simon Pegg, Nick Frost, Junot Diaz, Willem Dafoe, Kid Koala, and Juliana Hatfield. And, in the seats, you'll find people loving and digging them all.
Maybe even YOU!
Please contact me if you'd like to sponsor my Watch-A-Thon, and let me know how much you wish to pledge per movie (any amount, even just $1 per movie). Feel free to specify a cap (if you're familiar with my moviegoing habits, you'll understand why). Or if you like, make a one-time (not per-movie) flat donation now through this webpage by credit card. And of course, going to see a movie at the theater itself wouldn't hurt any. =)
It's where my mind was blown when I watched Chow Yun Fat step-and-slide his way down that tea-house stairway railing, two guns a-blazin', partnered with Tony Leung in John Woo's HARD-BOILED! The darkened theater where I first experienced movies like CITIZEN KANE, DONNIE DARKO, and FALLEN ANGELS... Where I can go to see "What's Opera, Doc?" on the big screen, and properly observe my holy days with screenings of EVIL DEAD 2 for Halloween, CASABLANCA for Thanksgiving, IT'S A WONDERFUL LIFE for Saturnalia, and BRIDE OF FRANKENSTEIN for Valentine's Day... and where I consistently go to see the best of film's past (BICYCLE THIEVES, LE SAMOURI), present (THE HOST, BRICK), and future (OLD BOY, MUTUAL ATTRACTION).
Thank you for any little something you can give to keep the Brattle's screen lit up, either as a donation or a pledge for my Watch-A-Thon. Please help the Brattle...
Keep on keepin on~
Monday, November 02, 2009
"how awesome Twilight is... all f@cking night..."
Thanks to Paris Jen for the point-and-laugh. =)
Keep on keepin on~
Sunday, November 01, 2009
This week's derby: "Flight"
Check out this week's shirt.woot derby entries and drop some votes on my submissions! This week's topic, "Flight" inspired "Escape Hatch," a wish for wings, and "Flight Cub," a radical adaptation by an endangered species.
Hrmm... Looks like I may have mutation on the brain. Y'know, metaphorically.
So far as I know.
Remember, woot requires that you make a purchase at one of their online outlets before being eligible to vote. Once you've made a purchase, you can sign in and vote for any designs you like in the derby. That means you can vote for more than one.
Keep on keepin on~
Hrmm... Looks like I may have mutation on the brain. Y'know, metaphorically.
So far as I know.
Remember, woot requires that you make a purchase at one of their online outlets before being eligible to vote. Once you've made a purchase, you can sign in and vote for any designs you like in the derby. That means you can vote for more than one.
Keep on keepin on~
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